Guillaume Leblon’s work is a subtle game of concealment and disclosure, proceeding slowly towards the discovery of an indefinite site, the attempt to discern an atmosphere. He conceives exhibitions that are both concrete and conceptual landscapes, drawing on simple archetypes (nature, architecture and the domestic habitat, the everyday). Marked out by objects and sculptures that can be likened to clues for the visitor to interpret, these landscapes have something in common with revealed archaeology, applied in this case to the present day.
The various processes of détournement that the artist establishes question the role and the presence of objects and forms, their relationship with time and with memory. Yet whether it be a tree held a few centimetres from the ground (L’Arbre, 2005) or a virtually full-scale foam board fabrication of a staircase (Vue depuis l’entrée vers l’escalier, 2004-2008), all the strategies that Guillaume Leblon deploys (the multiplication of points of view, disruptions of scale …) work together to strain the relationships between the individual and space.
Réplique de la chose absente (2009) thus becomes the staging of an encounter: between new and altered surfaces, spatial and temporal stratifications, traces of human presence and the suggestion of something out of shot. At once memory and lacuna, simulation, witness statement and projection, Guillaume Leblon’s work cultivates evasiveness, elucidating nothing of the perceptual inquiry that it suggests.
In this sense Guillaume Leblon’s art willingly assumes the functions of a ‘conversation piece’, an object that, by a particular trait of strangeness, concentrates the attention and arouses discussion. An art that can be described, but never circumscribed.
Someone knows better than me is a new exhibition project by Guillaume Leblon, produced by the Grand Café, that pursues his investigation of current practice in sculpture as a means of reformulating space.